Conjured Bodies


Book Description

2022 Honorable Mention, John Leo & Dana Heller Award for Best Single Work, Anthology, Multi-Authored, or Edited Book in LGBTQ Studies, Popular Culture Association (PCA) 2023 Honorable Mention, Outstanding Book, Latinx Studies Section of Latin American Studies Association (LASA) This study argues that powerful authorities and institutions exploit the ambiguity of Latinidad in ways that obscure inequalities in the United States. Is Latinidad a racial or an ethnic designation? Both? Neither? The increasing recognition of diversity within Latinx communities and the well-known story of shifting census designations have cast doubt on the idea that Latinidad is a race, akin to white or Black. And the mainstream media constantly cover the “browning” of the United States, as though the racial character of Latinidad were self-evident. Many scholars have argued that the uncertainty surrounding Latinidad is emancipatory: by queering race—by upsetting assumptions about categories of human difference—Latinidad destabilizes the architecture of oppression. But Laura Grappo is less sanguine. She draws on case studies including the San Antonio Four (Latinas who were wrongfully accused of child sex abuse); the football star Aaron Hernandez’s incarceration and suicide; Lorena Bobbitt, the headline-grabbing Ecuadorian domestic-abuse survivor; and controversies over the racial identities of public Latinx figures to show how media institutions and state authorities deploy the ambiguities of Latinidad in ways that mystify the sources of Latinx political and economic disadvantage. With Latinidad always in a state of flux, it is all too easy for the powerful to conjure whatever phantoms serve their interests.




Collective Body


Book Description

"Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration not as the enemy of revolutionary art, but as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Tracing Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the Revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Great Terror and beyond, Collective Body demonstrates that Socialist Realism is best understood not as a totalitarian style, but rather as a fiercely collective art system that organized art outside the market and formed part of the legacy of the revolutionary modernisms of the 1920s. Collective Body accounts for the way the art of the October Revolution continues to capture viewers' imaginations through the sheer intensity of its evocation of the elation of collectivity, making viewers not only comprehend but also truly feel socialism, and retaining the potential to inform our own art-into-life experiments within contemporary political art. Deineka figures in this study not as a singular master, in the spirit of a traditional monograph, but as a limited case of the system he inhabited and helped to create"--



















Haunted Air


Book Description

PHOTOGRAPHS: COLLECTIONS. The roots of Hallowe'en lie in the ancient pre-Christian Celtic festival of Samhain, a feast to mark the death of the old year and the birth of the new. It was believed that on this night the veil separating the worlds of the living and the dead grew thin and ruptured, allowing spirits to pass through and walk unseen but not unheard amongst men. The advent of Christianity saw the pagan festival subsumed in All Souls' Day, when across Europe the dead were mourned and venerated. Children and the poor, often masked or in outlandish costume, wandered the night begging 'soul cakes' in exchange for prayers, and fires burned to keep malevolent phantoms at bay. From Europe, the haunted tradition would quickly take root and flourish in the fertile soil of the New World.




Conjured


Book Description

Eve has a new home, a new face, and a new name-but no memories of her past. She's been told that she's in a witness protection program. That she escaped a dangerous magic-wielding serial killer who still hunts her. The only thing she knows for sure is that there is something horrifying in her memories the people hiding her want to access-and there is nothing they won't say-or do-to her to get her to remember. At night she dreams of a tattered carnival tent and buttons being sewn into her skin. But during the day, she shelves books at the local library, trying to not let anyone know that she can do things-things like change the color of her eyes or walk through walls. When she does use her strange powers, she blacks out and is drawn into terrifying visions, returning to find that days or weeks have passed-and she's lost all short-term memories. Eve must find out who and what she really is before the killer finds her-but the truth may be more dangerous than anyone could have ever imagined.




Conjuring Bodies of the South


Book Description